C. Lewis Hind (1862–1927)
Auteur de Turner (Masterpieces in Colour)
A propos de l'auteur
Œuvres de C. Lewis Hind
Watteau (Masterpieces in Colour) 10 exemplaires
Ecclesiasticus; or, The Wisdom of Jesus, the Son of Sirach [RV] — Introduction, quelques éditions — 4 exemplaires
ONE HUNDRED BEST BOOKS. WITH THE ADDITION OF A SUPPLEMENTARY LIST OF ONE HUNDRED TITLES SUGGESTED BY THE PUBLISHERS OF… (1928) 3 exemplaires
Adventures among pictures 3 exemplaires
Art and I 2 exemplaires
Turner Masterpieces in Color 2 exemplaires
The consolations of a critic 2 exemplaires
Drawings of Leonardo da Vinci 2 exemplaires
The Great Painters In Art And Life 2 exemplaires
100 best poems 2 exemplaires
100 Best Prayers 1 exemplaire
Things seen in America 1 exemplaire
Life's little things 1 exemplaire
The soldier-boy 1 exemplaire
Turner's golden vision 1 exemplaire
Augustus Saint-Gaudens 1 exemplaire
Devonia. The official organ of the United Devon Association. Vol III No 1, 2, 3, 4, 5, 6. Vol IV No 1, 2, 3, 4, 5, 6. (1906) — Directeur de publication — 1 exemplaire
The invisible guide 1 exemplaire
Étiqueté
Partage des connaissances
- Nom légal
- Hind, Charles Lewis
- Date de naissance
- 1862
- Date de décès
- 1927
- Sexe
- male
- Nationalité
- UK
- Professions
- art historian
Membres
Critiques
Listes
Vous aimerez peut-être aussi
Auteurs associés
Statistiques
- Œuvres
- 29
- Membres
- 92
- Popularité
- #202,476
- Évaluation
- 3.7
- Critiques
- 8
- ISBN
- 7
THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
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